Afleveringen
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Director of Photography Adam Newport-Berra joins us to discuss his incredible work on âThe Studio,â the hilarious behind-the-scenes satire now streaming on Apple TV+. The cinematographer shares how he helped co-creators Seth Rogen and Evan Goldberg pull off the showâs bold cinematic concept: shooting nearly every scene as a continuous long take. Join us as we go behind the camera on episode two, âThe Oner,â a technical and comedic marvel executed as one uninterrupted 25-minute shot. Newport-Berra details the challenges of capturing ensemble performances, navigating comedic timing, and using cinematography to enhance the absurdity of Hollywood.
âI think one thing I really learned on this show is to just never say no... Seth and Evan really supported me and believed in me... and it created an environment where it was almost impossible to say no, because we were so creative that we were always able to come up with a solution.â
âAdam Newport-Berra, Director of Photography, âThe Studioâ
Be sure to check out âThe Studio,â now streaming on AppleTV+, in Dolby VisionÂź and Dolby AtmosÂź.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on YouTube.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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This week we return to the stunning visual world of âSeverance,â the critically acclaimed Apple TV+ series from creator Dan Erickson and director Ben Stiller. Cinematographer and fellow director Jessica Lee GagnĂ© joins us to discuss her work on the showâs second season, including how she crafted the eerie, sterile look of Lumon Industries and expanded the visual palette in new, unexpected ways. Jessica discusses her collaborative relationship with the creative team, the emotional and psychological subtext behind the framing, and how film was used to deepen the surreal, dreamlike atmosphere of the important flashbacks in episode 7, which she directed.
âLife never looks more real and emotional than it does on film. Like it just has that texture... and Iâm like, well, I feel that that makes so much sense with this world.â
âJessica Lee GagnĂ©, Director of Photographer and Director, âSeveranceâ
Be sure to check out âSeverance,â now streaming on AppleTV+, in Dolby VisionÂź and Dolby AtmosÂź.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on YouTube.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Zijn er afleveringen die ontbreken?
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NOTE: This episode contains SPOILERS from the second season and season finale of Severance.
Today we let Kier guide us into the extraordinary sound work of season two of "Severance," the hit Apple TV+ series from creator Dan Erickson and director Ben Stiller. Focusing on the groundbreaking storytelling of episodes 207 and 210, Supervising Sound Editor, Sound Designer, and Re-recording Mixer Jacob Ribicoff, Re-recording Mixer Bob Chefalas, and David Schwartz (the Production Sound Mixer on those two episodes), break down how they crafted the showâs eerie, minimalist sonic landscape. They explore everything from the showâs surreal dreamlike ambiences and rhythmic sound/music interplay, to that unforgettable marching band sequence in the season finale.
âOne of the primary objectives, according to Ben [Stiller], was that Lumon should be a quiet place, a place with the air sucked out of it⊠I thought, wouldn't that be really interesting to create room tones out of breathing, out of breath, and actually just fold those in and mix those in with normal room tones? So there's kind of some animal breath and some human breath in there â like, very long⊠just a breath that just goes on for an entire scene.â
âJacob Ribicoff, Supervising Sound Editor, Sound Designer, and Re-recording Mixer, âSeveranceâ
Be sure to check out âSeverance,â now streaming on AppleTV+, in Dolby VisionÂź and Dolby AtmosÂź.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on YouTube.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Legendary sound mixer JC Aguila joins us at Telemundoâs state-of-the-art headquarters in Miami. With nearly 30 years at the network, JC has played a key role in Telemundoâs rise as one of the leading Spanish-language broadcasters in the United States. In this wide-ranging discussion, he reflects on his journey from mixing his first live show at age 14 in Cuba to becoming Network Audio Technical Manager at Telemundoâworking across everything from award-winning news coverage to live telenovelas, entertainment programming, and global sporting events.
To experience some of JCâs work, tune into virtually any live broadcast on Telemundo.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on YouTube.
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Supervising Sound Editor, Re-recording Mixer, and Sound Designer Mixer David Acord and Supervising Sound Editor and Dialogue & ADR Supervisor Margit Pfeiffer join us to discuss the powerful, visceral sound of the final season of "Andor." As one of the darkest and most grounded series in the Star Wars galaxy, "Andor" features a deeply cinematic soundscape â ranging from brutal hand-to-hand combat to haunting silence, immersive crowd scenes, and intentionally fuzzy radio transmissions. David and Margit break down their collaborative process, the evolution of the sonic language across the series, and how they used Dolby AtmosÂź to bring audiences even deeper into the world of espionage, rebellion, and sacrifice.
âWe want to make sure that the audience feels the threat and the danger of these weapons. The impact of those weapons has to be violent⊠A laser whiz by has to strike fear.â
âDavid Acord, Supervising Sound Editor, Re-recording Mixer, and Sound Designer, "Andor"
Be sure to check out âAndor,â all episodes now streaming on Disney+, in Dolby VisionÂź and Dolby AtmosÂź.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on YouTube.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Mix engineer and recording engineer Jayda Love, along with Dolby AtmosÂź mix engineer Juan Razuri, join guest host Ben Givarz to discuss their work on Doechiiâs GrammyÂź-winning mixtape, âAlligator Bites Never Heal,â which took home Best Rap Album at the 2025 GRAMMY AwardsÂź and earned nominations for Best Rap Performance and Best New Artist. In this episode, Jayda and Juan break down their creative process â from initial recording sessions in Los Angeles to the immersive final mixes in Dolby Atmos.
âA lot of the vocal production stuff â as a recording engineer â I'll help with layering and blending. That's a big thing for her. But a lot of the time, in terms of volume and placement and stuff, she's very hands-on. She'll be like, âI need those higher.â And naturally, as an engineer, âI'm like, these are a little too loud.â But then I'll finally get an ear break or hear it take a step back and I'm like, âoh, she's very particular about this stuff, especially the presence of her voice.â And so I can definitely credit a lot of that to her.â
âJayda Love, Mix Engineer, âAlligator Bites Never Healâ by Doechii
Stay connected!
- You can listen to Doechiiâs âAlligator Bites Never Heal,â as well as many other classic and contemporary artists in Dolby Atmos, on enabled streaming services.
- Follow Doechii on Instagram
- Follow mix engineers Jayda Love and Juan Razuri on Instagram
- Follow Top Dawg Entertainment on Instagram
Interested in creating content in Dolby Atmos? Check out our FREE resources to give you a jump start!
- Dolby Atmos Music Accelerator: https://www.dolby.com/creator-lab/music-accelerator/
- Dolby Atmos Essentials Course: https://learning.dolby.com/
- Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on YouTube.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Guest host Alistair Hirst returns to Dolby Creator Talks to speak with the audio team behind "Star Wars Outlaws," one of the most successful games of last year. Developed by Ubisoft's Massive Entertainment in collaboration with Lucasfilm Games, the title delivers a rich, cinematic gameplay experience â thanks to its immersive sound design and dynamic score. Recently nominated for a BAFTA in Audio Achievement, the team shares how they built the gameâs soundscape from the ground up, mixing original Star Wars recordings with new field material to create unique environments, iconic weapons, and vehicles. They also explain how Dolby AtmosÂź was used to deepen the spatial realism â from starships above to rain on rooftops â and how their creative approach to sound design gave the game its gritty, signature edge.
âFirst and foremost, we landed on three main pillars... The first of them being a cinematic experience... We really wanted to tell a story using audio... The second was making it a true and authentic Star Wars experience... And finally, we coined the phrase we call the scoundrel sound... Itâs about keeping the grit from the original trilogy, but also updating the sounds to make them sound fresh and new.â
âSimon Koudriavtsev, Audio Director, "Star Wars Outlaws"
Joining todayâs conversation from Massive Entertainment:
- Simon Koudriavtsev - Audio Director
- Jacob Coles - Lead Audio Designer
- Martin Weissberg - Principal Audio Designer
- Simon Siegfried Klar - Senior Audio Designer
Be sure to check out "Star Wars Outlaws," available now in Dolby AtmosÂź, on supported platforms.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on YouTube.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Filmmaker Carlos LĂłpez Estrada hosts a heartfelt and eye-opening conversation with five acclaimed artists about the power of storytelling to foster compassion, connection, and empathy.
Joining the discussion:
- Andrew Ahn â Filmmaker (âFire Island,â âDrivewaysâ)
- Patricia Cardoso â Filmmaker (âReal Women Have Curvesâ)
- Marcus Gardley â Screenwriter, Playwright (âThe Color Purpleâ)
- Qui Nguyen â Filmmaker, Screenwriter (âRaya and the Last Dragonâ)
- Sean Wang â Filmmaker (âDĂŹdi,â âNÇi Nai & WĂ i PĂłâ)
This is another installment of our ongoing âSatellite Sessionsâ series, which weâre bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment.
Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.
Antigravity Academy
CAPE (Coalition of Asian Pacifics in Entertainment)
For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Guest host Alistair Hirst returns to Dolby Creator Talks to sit down with the audio team behind "Helldivers 2," the hit third-person shooter from Arrowhead Game Studios. The game features a groundbreaking, immersive soundtrack which was recently nominated for a BAFTA in Audio Achievement. In this episode, the creative team breaks down how they crafted the gameâs visceral soundscapeâenhancing the gameplay with hard-hitting weapons, dynamic enemies, and a cinematic, larger-than-life mix. They also share how they utilized Dolby AtmosÂź to heighten the sense of immersion and verticality, from incoming projectiles to flying enemies.
âWords that came up quite a lot were: visceral⊠chaotic... fairly violent⊠over-the-top movie trailer style sound effects. Grounded where possible, but larger-than-life, in-your-face, [and] action-inspired.â
âHarvey Scott, Project Audio Director, "Helldivers 2"
Joining the discussion:
- Harvey Scott, Project Audio Director
- Juuso Tolonen, Project Lead Sound Designer
- Paola Velasquez, Senior Dialogue Designer
- Simon Gumbleton, Senior Technical Sound Design Supervisor
- Olliver Andersson, Sound Designer
Be sure to check out âHelldivers 2,â now available on Sony Playstation in Dolby Atmos.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on YouTube.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Guest host Ben Givars returns to Dolby Creator Talks for a live panel at SXSW 2025 to discuss how Dolby AtmosÂź empowers musicians and creatives to take their music and audio to the next level. Producer and musician (Spoon) Jim Eno joins collaborators from Colorado-based fuzz folk band autumnal to discuss how he used Dolby Atmos to mix a totally immersive audio experience for their song, âbreathing.â
âThereâs so much space. When you listen to an Atmos mix on a speaker system, you definitely hear things that youâve never heard on a stereo mix, because theyâre not cramped together⊠With Atmos you can take more freedom and liberties, and be able to hear more things around the 360 spectrum.â
- Jim Eno - Musician, Producer, Project Traction Founder
Joining the conversation:
- Annalee Knies - Guitar, Vocals - autumnal
- Geneva Hein - Synth, Vocals - autumnal
- Justice Murray - Bass - autumnal
- Jim Eno - Musician, Producer, Project Traction Founder
- Sara L Hauser - Musician, Producer, Music Educator
Learn more about Project Tractionâs mission to bridge the gender gap in music production and engineering here.
Special thanks to our partners at Rivian Automotive for showcasing their cutting-edge in-car Dolby Atmos audio systems at the festival.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode on YouTube.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Recorded live at the 2025 Sundance Film Festival, Academy AwardÂź-nominated director (âRaya and the Last Dragonâ) Carlos LĂłpez Estrada once again brings together a panel of first-time feature filmmakers making their world premieres at the festival. These five directors have graciously joined us to offer some insights in how to navigate the first-time filmmaker experience at Sundance, as well as how they overcame the challenges of getting their films made in the first place.
Joining the discussion are:
- Eva Victor - âSorry, Babyâ
- Joel Alfonso Vargas - âMad Bills to Pay: (or Destiny, dile que no soy malo)â
- Cole Webley - âOmahaâ
- Katarina Zhu - âBunnylovrâ
- Sierra Falconer - âSunfish (& Other Stories on Green Lake)â
This is another amazing conversation which is part of our ongoing âSatellite Sessionsâ series, which weâre bringing to you in partnership with Antigravity Academy and the Coalition of Asian Pacifics in Entertainment.
Follow @antigravityacademy and @capeusa for more information on even more upcoming panels.
Antigravity Academy
CAPE (Coalition of Asian Pacifics in Entertainment)
For more inspiring Satellite Sessions just like this one, be sure you are subscribed to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Table of Contents: CINEMATOGRAPHY
01:38 - âThe Brutalistâ - Lol Crawley
02:52 - âDune: Part Twoâ - Greig Fraser
04:36 - âEmilia PĂ©rezâ - Paul Guilhaume
06:48 - âMariaâ - Ed Lachman
09:08 - âNosferatuâ - Jarin Blaschke
ORIGINAL SCORE
10:29 - âThe Brutalistâ - Daniel Blumberg
11:18 - âConclaveâ - Volker Bertelmann
13:04 - âEmilia PĂ©rezâ - ClĂ©ment Ducol and Camille
14:20 - âWickedâ - John Powell and Stephen Schwartz
15:39 - âThe Wild Robotâ - Kris Bowers
SOUND
18:06 - âA Complete Unknownâ - Tod A. Maitland, Donald Sylvester, Ted Caplan, Paul Massey and David Giammarco
19:41 - âDune: Part Twoâ - Gareth John, Richard King, Ron Bartlett and Doug Hemphill
20:57 - âEmilia PĂ©rezâ - Erwan Kerzanet, Aymeric DevoldĂšre, Maxence DussĂšre, Cyril Holtz and Niels Barletta
22:59 - âWickedâ - Simon Hayes, Nancy Nugent Title, Jack Dolman, Andy Nelson and John Marquis
24:26 - âThe Wild Robotâ - Randy Thom, Brian Chumney, Gary A. Rizzo and Leff Lefferts
This past year featured some of the most stunning, innovative, and groundbreaking work in the categories of Cinematography, Original Score, and Sound. And since weâve been diligently interviewing the artists and teams who have received Academy AwardÂź nominations in those categories, we offer you this special round-up episode â to help give some greater insight into how to cast your final votes. The soundbites in this episode are mere snippets from the discussions weâve been conducting through the past several months. If youâd like to take a deeper dive:
FULL EPISODES, BY CATEGORY:
= CINEMATOGRAPHY =
âThe Brutalistâ
237 - Lol Crawley and the Cinematography of The Brutalist - Feb 10th, 2025
YouTube: https://youtu.be/d342-st5dvg
Spotify: https://open.spotify.com/episode/0Txxk3xNAcmItPwsm9GquP
Apple Podcasts: https://podcasts.apple.com/us/podcast/237-lol-crawley-and-the-cinematography-of-the-brutalist/id1549901182?i=1000690773442
âDune: Part Twoâ
189 - Greig Fraser and the Cinematography of Dune: Part Two - March 5th, 2024
YouTube: https://youtu.be/39p8wPkhmtM
Spotify: https://open.spotify.com/episode/5WMtD1WbGGVBgrlQtSFzON
Apple Podcasts: https://podcasts.apple.com/us/podcast/189-greig-fraser-and-the-cinematography-of-dune-part-two/id1549901182?i=1000648108720
âEmilia PĂ©rezâ
220 - The Making of Emilia PĂ©rez - Dec 4th, 2024
YouTube: https://youtu.be/VZruPNqHv3w
Spotify: https://open.spotify.com/episode/1YHHeGMGzBwdTIXlHKAgz2
Apple Podcasts: https://podcasts.apple.com/us/podcast/220-the-making-of-emilia-p%C3%A9rez/id1549901182?i=1000679018480
âMariaâ
236 - Ed Lachman and the Cinematography of Maria - Feb 7th, 2025
YouTube:
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Academy AwardÂź-nominated cinematographer Lol Crawley joins us to discuss his approach to "The Brutalist," the epic indie film from writer / director Brady Corbet. Crawley delves into his decision to shoot the film in VistaVision, how it shaped the filmâs aesthetic, and his use of practical lighting to create its atmospheric look. He also shares insights into how they executed the filmâs many âonersâ (one-shot scenes), the challenges of capturing the marble quarry sequence, and how his cinematography reinforces the filmâs themes of ambition, displacement, and artistic legacy.
âThe VistaVision shot⊠it's a little bit like anamorphic, in the sense of [it capturing] two things in one. You get this intimacy, but you also have this wide field of view. So you see the world, and you see the performance. And I think that's what gives the film a certain grandeur. And its debt to early 50s, 60s American cinema.â
âLol Crawley, Director of Photography, "The Brutalist"
Be sure to check out âThe Brutalist,â now in theaters.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Academy AwardÂź-nominated cinematographer Ed Lachman joins us to discuss his gorgeous cinematography on âMaria,â directed by Pablo LarraĂn. The seasoned director of photography shares his approach to blending formats â including 35mm, Super 8, and 16mm â to capture the operatic essence of Maria Callasâs life, as well as his use of color psychology, lighting techniques, and period-specific film stocks to evoke emotion and authenticity.
"Opera and cinema are very similar⊠Opera's images are not representational either. Like cinema. And they create the subtext for the emotions of the story. And what helps to create the nonverbal form of communication is the same thing that happens in music of the opera. It's a heightened reality⊠I felt the film could be a representation if her life, mirrored in the operas that she sang in. And even though people say she was the sum of the tragedies of the opera she sang, I believe she had the resistance and strength to overcome."
âEd Lachman, Director of Photography, âMariaâ
Be sure to check out âMaria,â now streaming on Netflix, in Dolby VisionÂź and Dolby AtmosÂź.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Academy AwardÂź-nominated composer Kris Bowers joins guest host Jon Burlingame to discuss his stunning orchestral score for "The Wild Robot," directed by Chris Sanders. The composer dives deep into how he crafted the filmâs sonic landscape, incorporating orchestral textures, electronic elements, and unique percussive sounds. He also shares insights into his collaboration with director Chris Sanders and how becoming a parent influenced his emotional approach to crafting the filmâs original score.
âChris [Sanders] talked about the role that music was going to need to play in this film... He already knew there were going to be these long stretches where we would have little to no dialogue. And he was trusting that music could help tell the story in those moments⊠Because for him, the idea of kindness as a survival technique, that was very, very key to the story... Really this idea of music needing to have this vulnerability, this warmth, clear melodic statements, and then also having the ability to go from small intimate moments to really big, huge action sequences.â
âKris Bowers, Composer, "The Wild Robot"
Be sure to check out âThe Wild Robot,â now available to stream and on Blu-ray, in Dolby VisionÂź and Dolby AtmosÂź.
The soundtrack to âThe Wild Robotâ by Kris Bowers is also available to stream on Apple Music in Dolby Atmos!
And donât miss our previous episode on the sound of âThe Wild Robot,â with writer and director Chris Sanders.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Academy AwardÂź-winning production sound mixer Simon Hayes joins us to discuss his groundbreaking work on âWicked.â Nominated for his third OscarÂź, Hayes shares how he captured live vocals on set, blending the technical innovation with the emotional. He reflects on lessons learned from âLes MisĂ©rables,â how he worked seamlessly with the music department, and the intricate process of ensuring performers like Cynthia Erivo and Ariana Grande had the freedom to deliver their most powerful performances while always staying in sync with the filmâs score.
"We had no idea that when Cynthia and Ari sung together, their voices would mesh the way that they did. And something very, very special happens when those two sing together⊠That first time when I had my cans on, and they were dueting, and the hairs on the back of my neck started standing up, and you get that tingle⊠You just know, as a sound mixer, 'My God, we've struck gold.' This is something very unique and special."
âSimon Hayes, Production Sound Mixer, âWickedâ
Be sure to check out âWicked,â now available to stream at home in Dolby VisionÂź and Dolby AtmosÂź.
And donât miss our previous episode featuring Stephen Schwartz and the music team behind âWicked, as well as our episode with Director Jon M. Chu and the filmâs post-production team.
You can also check out the video for this episode.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Academy AwardÂź-nominated composer Daniel Blumberg joins guest host Jon Burlingame to discuss his evocative and unconventional music for "The Brutalist," directed by Brady Corbet, which earned the film an OscarÂź nomination for Best Original Score. Blumberg shares how his long-time friendship with Corbet influenced the creative process, how he crafted the filmâs musical language using improvisational techniques, and how he recorded some of the scoreâs most striking pieces â including a live jazz sequence and a prepared piano overture, which was played on set to help choreograph the movement of one of the filmâs opening sequences.
"[Brady Corbet] wanted to shoot the overture [of] Laszlo leaving the Holocaust behind, arriving in New York, and the optimism of seeing the Statue of Liberty to music. So that was one of my first priorities: To create a demo that would work on set⊠I had this sample of a piano that Iâd prepared in London. This sort of percussive piano where you interfere with the strings⊠John Cage put screws in between strings, and that was a sound that felt right⊠A few weeks later, we were playing it really loud on the set. And it was great because the cinematographer could move to the music and Adrian could move to the music and the music could cue the extras⊠I think it was successful in terms of having an impact for the opening of the film.â
âDaniel Blumberg, Composer, "The Brutalist"
Be sure to check out âThe Brutalist,â now playing in theaters.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Academy AwardÂź-winning composer Volker Bertelmann joins guest host Jon Burlingame to discuss his tense and atmospheric score for âConclave,â directed by Edward Berger. Nominated for his third Oscar, Bertelmann â who won in 2023 for Bergerâs âAll Quiet on the Western Frontâ â shares how he crafted the filmâs unique musical palette, eschewing the sounds of traditional church music in favor of experimental instruments like the Cristal Baschet. He also discusses his approach to scoring thrillers as well as his deep collaboration with Berger.
â[Edward Bergerâs] feeling is that music is a third dimension, in a way. That it's something that adds a layer to the film⊠You can create links to scenes, but you can also use music detached from what you see⊠You can use it in areas where it's already starting to give someone a feeling, that you don't see in the scene, but somehow⊠undercurrent-ly⊠starts to rise⊠What I think Edward works a lot with is building tension up, but then cutting the music pretty hard, into silence. And then you're left in the silence. But the moment where it's cut is very important⊠It is intentionally being cut at a certain moment, and then there is maybe a natural sound where you suddenly feel much closer to the person than you felt before, because you are alone with a person in silence.â
âVolker Bertelmann, Composer, âConclaveâ
Be sure to check out âConclave,â now in theaters and available to stream in Dolby VisionÂź and Dolby AtmosÂź.
Volker Bertelmannâs soundtrack to âConclaveâ is also available to stream on Apple Music in Dolby Atmos.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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We are joined by Director of Photography and first-time Academy AwardÂź nominee Jarin Blaschke, as well as Director Robert Eggers, to discuss the stunning cinematography of âNosferatu.â Together, the frequent collaborators delivered a gothic masterpiece, blending German romanticism and chilling horror into stunning, painterly visuals. In this conversation, Eggers and Blaschke discuss the meticulous development of the filmâs look, the challenges of shooting with practical lighting, and their shared love for highly composed one-take shots. From the fog-drenched crossroads to the eerie interiors of Orlok's castle, the pair reveal the painstaking care and simple, practical ingenuity that brought this cinematic fever dream to life.
âIâm just trying to curate life⊠What kind of optics just feel right? The little flare around the windows. What is the lens that just feels nice? Letâs just look at a bunch of those. Letâs have lenses made. Weâre very privileged in that we can do that now and see what that looks like.â
âJarin Blaschke, Director of Photography, âNosferatuâ
This conversation was a live webinar as part of Dolby Creator Labâs partnership with Sundance Collab, the digital platform from the Sundance Institute designed for filmmakers, with exclusive webinars, curated resources, and free educational videos.
Be sure to check out âNosferatuâ in Dolby VisionÂź and Dolby AtmosÂź, in select theaters.
Please subscribe to Dolby Creator Talks wherever you get your podcasts.
You can also check out the video for this episode.
Our previous episode with Robert Eggers and Sound Designer Damian Volpe, discussing the sound of "Nosferatu,â is now on YouTube.
Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.
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Mix engineer and producer Cian Riordan as wells as mix engineer Matt Cerritos join guest host Ben Givarz to discuss their work on St. Vincentâs seventh studio album, âAll Born Screaming,â which garnered critical acclaim and four GRAMMYÂź nominations, and is now available in stunning Dolby AtmosÂź. Cian and Matt discuss the recording and mixing process, how they collaborated to re-mix the album in Dolby Atmos, and the unique opportunities this immersive audio format provided to elevate the experience of the album and give it new dimensionality, while maintaining its emotional and sonic integrity.
âGoing in, being extremely happy with the stereo mixes, I didnât want Atmos to be something that was drastically different. I still wanted to have it play the same âtricksâ on the listener [and] hit people the same way. With Atmos, itâs a little bit more difficult because you canât really rely on having a heavy-handed mix bus. Loudness all has to be perceived because of the headroom requirements for the Atmos format. So itâs a different way of wrapping your head around it. And Matt, from doing this day-in and day-out, knew how to approach a lot of these concepts that we were bringing, creatively. And he really helped technically execute. It was a really fun process.â
âCian Riordan, Mix Engineer and Producer, âAll Born Screamingâ by St. Vincent
You can listen to St. Vincentâs âAll Born Screaming,â as well as many other classic and contemporary artists in Dolby Atmos, on enabled streaming services.
Interested in creating content in Dolby Atmos? Check out our FREE resources to give you a jump start!
- Dolby Atmos Music Accelerator: https://www.dolby.com/creator-lab/music-accelerator/
- Dolby Atmos Essentials Course: https://learning.dolby.com/
- Dolby Atmos Music Support: https://professional.dolby.com/music/Professional-resources/
To find out more about St. Vincent, check out:
https://ilovestvincent.com
To learn more about Just For The Record Studios, go to:
https://justfortherecord.com
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